FROM THE VINE

Canada, 2020, 97 minutes, Colour.

Joe Pantoliano, Paula Brancati, Marco Leonardi, Wendy Crewson, Tony Nardi, Tony Nappo, Franco Lo Presti, Kevin Hanchard.

Directed by Sean Cisterna.

From the vine came…, the grapes…, the wine, as the popular songs sings. And, certainly by the end of the film, the wine is flowing.

This is a Canadian story but it has its origins in Italy and it has its fulfilment in Italy, especially in the vineyards, the wine press, those barrels of local red. And the locality is in the Basilicata region of southern Italy, especially the hilltop Acerenza, one of the most picturesque and well preserved of those mediaeval cities (and filmed, frequently throughout the film, from spectacular helicopter angles). Anyone who loves cinema visits to the Italian countryside will not be disappointed in this display of wonderful scenery.

And Canada? This is the story of a young boy (Marco) who grew up in Acerenza racing the passing trains with his schoolfriends, bonding with his grandfather who owned and worked the vineyards. But, off he went with his mother to Canada, went to school, got his law degree, married, had a daughter, a great business success story. But, as they say, there comes a time in the tides… Marco’s vision is challenged and he melts, publicly, quitting his job (and not telling his wife and daughter). He decides to escape, back to Italy, back to Acerenza, back to his past.

This is where the film becomes very Italian, the range of townspeople, many idiosyncratic to say the least, discovering his old friends, going back to his grandfather’s house, becoming inspired by the vines and… Not hard to guess the rest. In fact, this is a great opportunity for veteran actor, especially in TV, Joe Pantoliano, to get main billing. He is likable, at moments irritating, having to get over himself, but exhilarated by going back home, his grandfather appearing to him from time to time (and, which may be a bit much for some audiences’ sense of realism, some of the leaves of the vines talk to him, and he talks back.)

Canada then intrudes on Italy with a sudden visit from his wife (Wendy Crewson) and daughter (Paula Brancati), his wife exasperated, especially as she discovers he has cleared out there retirement account, the daughter having to get over resentment of her father’s attempts to mould her into his own image.

But, this is popular and pleasing entertainment – someone criticised it for being “un-demanding”, scoffing by someone who demands demanding cinema! No, this is meant for sitting back, relaxing (and being reminded of what life is like – for some people anyway).

1. The title? From the vine, the grapes, the wine…? Expectations?
2. Canadian- Italian coproduction, the Canada sequences and the focus on business and jobs? The Italian sequences and the focus on life in the town, the vines, Wine production? The musical score?
3. Undermined in entertainment for a popular audience? No more, no less?
4. Marco and his story? His memories, flashbacks to his boyhood, in the town, childhood friends, Luca and Amelia, racing the train? His bond with his grandfather? The vineyards? His mother and the migration to Canada? At a young age, becoming Canadian, education, degree in law, his success with corporations? Creative ideas? His age, middle age, relationship with his wife, the demands on his daughter, her alienation? The preparation of his plan, the warning that it was not acceptable, his standing in front of people, the breakdown, resigning his job? Home early, cooking, telling Marina? The disbelief?
5. His suddenly going to Italy, the train, the town, no taxis, Luca and the practical jokes about the taxi, holding up the bus, the arrest, revealing who he was? Memories of the past? Meeting Amelia at the bar? Going to the mansion, opening it up, the need for repairs? His wandering the grounds, memories grandfather and the vines? His decision to withdraw the pension fund money, pay the back taxes, connect electricity, settle in?
6. Contemplating his life, the decision to make the wine, getting the permits, tracking down Marcello, the plans, the barrels and the eccentricities of Enzo, his squatting in the shack? Rounding up the townspeople, their work in the fields? Enzo and his change of heart, getting the barrels? The grapes, picking them, the processes, Marcello and his advice?
7. Marina, upset, the phone call, talking with her daughter, the disappearance of the money? The flight, arriving, the house? Demanding that Marco return? His inviting Marina to tread the grapes, together, the bellowing, change of heart? Laura, her reaction, wanting to go home?
8. Marco, John coming to visit him, the chain of hotels? His visit to Rome, the discussions, tasting the wine, making the contract? Arriving back, the young man giving the wrong information, people thinking he was leaving, angrily gathering, his reassurance?
9. The touches of the magic realism, the leaves of the vines, hearing them speak, Marco replying, the advice that the leaves were himself speaking to him? That he should listen? Their happiness at the end? The touches with the statues, the touch of life, their moving?
10. Marco, success, the townspeople happy, the town come alive, the industry?